Explorando novas formas de tradução audiovisual na era da mídia digital: ciberlegendagem e ciberdublagem
DOI :
https://doi.org/10.26512/belasinfieis.v14.n2.2025.57477Mots-clés :
Ciberlegendagem. Ciberdublagem. Tradução Audiovisual. Tradução Colaborativa. Fakesubs. Dublagem paródica.Résumé
A prevalência e popularidade do conteúdo audiovisual atualmente resultaram em uma ampla gama de práticas que foram categorizadas, na pesquisa em Tradução Audiovisual (TAV), como exemplos de tradução feita por fãs, tradução amadora, crowdsourcing ou tradução colaborativa, entre outras. Embora algumas práticas possam ser incluídas nessas categorias, outras formas de TAV que surgiram recentemente não são tão claramente definidas. Diante desse cenário, este artigo explora as incertezas conceituais em torno dessas novas práticas de TAV, com enfoque em dublagem e legendagem, revisitando o trabalho realizado pelo autor e pela autora, que anteriormente sugeriram o uso dos termos abrangentes “ciberlegendagem” e “ciberdublagem”. Além de apresentar uma classificação revisada, o artigo enfatiza a necessidade de explorar as consequências sociais e éticas mais amplas dessas atividades tradutórias inovadoras. No que diz respeito às implicações éticas, práticas altruístas e realizadas por fãs são as mais propensas a sofrer exploração, muitas vezes porque algumas organizações imitam comportamentos corporativos, mas dependem de trabalho gratuito, sem qualquer compensação financeira ou reconhecimento para aqueles/as envolvidos/as nessas atividades. O artigo também conclui que é necessário realizar mais pesquisas críticas para desvendar o impacto dessas práticas no papel da tradução como uma atividade socioprofissional.
Téléchargements
Références
ANTONINI, R., & Bucaria, C. eds. (2016). Non-Professional Interpreting and Translation in the Media. Frankfurt am Main: Peter Lang.
ÁVILA-CABRERA, J. J. (2022). “Improving Oral Production Skills in the Business English Class Through Creative Dubbing.” ESP Today 10 (1): 99–122. https://doi.org/10.18485/esptoday.2022.10.1.5
AVTE. (2017). “Communique on ARTE's Fansubbing Project | AVTEUROPE.” AVTE Website. http://avteurope.eu/en_GB/2017/01/19/communique-on-artes-fansubbing-project
BAÑOS, R. (2019). “Fandubbing Across Time and Space: From Dubbing “For Fans by Fans” to Cyberdubbing.” In Reassessing Dubbing: Historical Approaches and Current Trends, edited by I. Ranzato and S. Zanotti, 145–167. Amsterdam: John Benjamins.
BAÑOS, R. (2020). “Fandubbing.” In The Palgrave Handbook of Audiovisual Translation and Media Accessibility, edited by Ł. Bogucki and M. Deckert, 209–226. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-42105-2
BAÑOS, R. (2023). “Key Challenges in Using Automatic Dubbing to Translate Educational YouTube Videos.” Linguistica Antverpiensia 22.
BASALAMAH, S. (2021). “Ethics of Volunteering in Translation and Interpreting.” In The Routledge Handbook of Translation and Ethics, edited by K. Koskinen and N. K. Pokorn, 227–244. Abingdon: Routledge.
BOGUCKI, Ł. (2009). “Amateur Subtitling on the Internet.” In Audiovisual Translation: Language Transfer on Screen, edited by J. Díaz-Cintas and G. Anderman, 49–57. Basingstoke: Palgrave Macmillan.
BOURDIEU, P. (1973/2018). “Cultural Reproduction and Social Reproduction.” In Knowledge, Education, and Cultural Change: Papers in the Sociology of Education, edited by R. Brown, 71–112. London: Routledge.
BUSSELL, J. (2013). “Cyberspace”. Britannica. www.britannica.com/topic/cyberspace .
DÍAZ-CINTAS, J. (2018). “Subtitling’s a Carnival”: New Practices in Cyberspace.” Journal of Specialised Translation 30: 127–149. www.jostrans.org/issue30/art_diaz-cintas.pdf .
DÍAZ-CINTAS, J., & Muñoz Sánchez, P. (2006). “Fansubs: Audiovisual Translation in an Amateur Environment.” Journal of Specialised Translation 6: 37–52. www.jostrans.org/issue06/art_diaz_munoz.pdf .
DORE, M., & Vagnoli, L. (2021). “Amateur Dubbing and Humour to Promote Well-Being Among Hospitalised Children and Adolescents.” In Humour Translation in the Age of Multimedia, edited by M. Dore, 158–176. Abingdon: Routledge.
DWYER, T. (2017). Speaking in Subtitles: Revaluing Screen Translation. Edinburgh: Edinburgh University Press.
DWYER, T. (2018). “Audiovisual Translation and Fandom.” In The Routledge Handbook of Audiovisual Translation, edited by L. Pérez-González, 436–452. London: Routledge. https://doi.org/10.4324/9781315717166-27 .
FAN, L. (2020). “Collaborative Translation and AVT.” In The Palgrave Handbook of Audiovisual Translation and Media Accessibility, edited by Ł. Bogucki and M. Deckert, 339–356. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-42105-2_17 .
GROSKOP, V. (2021). “Lost in Translation? The One-Inch Truth About Netflix’s Subtitle Problem.” The Guardian, October 14. www.theguardian.com/tv-and-radio/2021/oct/14/squid-game-netflix-translations-subtitle-problem .
JENKINS, H. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.
JENKINS, H. (2009). “Cultura da convergência: A colisão entre os velhos e novos meios de comunicação”. (S. Alexandria, Trad.; 2ª ed.). Aleph.
JIANG, M. (2020). “Retranslation in Popular Culture: A Multimodal Extension of Taboo Love.” The Translator 26 (1): 91–108. https://doi.org/10.1080/13556509.2019.1707385 .
JIMÉNEZ-CRESPO, M. A. (2017). Crowdsourcing and Online Collaborative Translations. Amsterdam: John Benjamins.
JUSTO, D. (2017). “Declaran ilegales los subtítulos de películas y series realizados por los seguidores. Los conocidos fansubbers holandeses no podrán subtitular series.” Ser. April 24 https://cadenaser.com/ser/2017/04/24/ciencia/1493017513_614281.html .
LEADBEATER, C., & Miller, P. (2004). The Pro-Am Revolution: How Enthusiasts are Changing Our Economy and Society. London: Demos.
LEE, H.-K. (2011). “Cultural Consumer and Copyright: A Case Study of Anime Fansubbing.” Creative Industries Journal 3 (3): 237–252. https://doi.org/10.1386/cij.3.3.237_1.
MASSIDDA, S. (2015). Audiovisual Translation in the Digital Age – The Italian Fansubbing Phenomenon. Basingstoke: Palgrave Macmillan.
MASSIDDA, S. (2020). “Fansubbing: Latest Trends and Future Prospects.” In The Palgrave Handbook of Audiovisual Translation and Media Accessibility, edited by Ł. Bogucki and M. Deckert, 189–208. Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-42105-2_10 .
MCCLARTY, R. (2014). “In Support of Creative Subtitling: Contemporary Context and Theoretical Framework.” Perspectives 22 (4): 592–606. https://doi.org/10.1080/0907676X.2013.842258 .
MOORKENS, J. (2020). ““A Tiny Cog in a Large Machine.” Digital Taylorism in the Translation Industry.” Translation Spaces 9 (1): 12–34. https://doi.org/10.1075/ts.00019.moo .
NORD, C., Khoshsaligheh, M. & Ameri, S. (2015). “Socio-Cultural and Technical Issues in Non-Expert Dubbing: A Case Study.” International Journal of Society, Culture and Language 3 (2): 1–16. http://www.ijscl.net/article_11734_b9fac3605ffb0c68da832760430a527b.pdf .
O’DONNELL, S. (2019). “The Psychology and Ethics of International Volunteering.” Grassroots Volunteering. June 14. http://blog.grassrootsvolunteering.org/ethics-of-international-volunteering .
O’HAGAN, M. (2009). “Evolution of User-Generated Translation: Fansubs, Translation Hacking and Crowdsourcing.” Journal of Internationalization and Localization 1: 94–121. https://doi.org/10.1075/jial.1.04hag .
O’HAGAN, M. (2012). “From Fan Translation to Crowdsourcing: Consequences of Web 2.0 User Empowerment in Audiovisual Translation.” In Audiovisual Translation and Media Accessibility at the Crossroads, edited by A. Remael, P. Orero, and M. Carroll, 25–41. Amsterdam: Rodopi.
OLIVEIRA, R. C. de. (2021). “Gamificação e trabalho uberizado nas empresas-aplicativo.” Revista de Administração de Empresas, 61(4), e20200762. https://doi.org/10.1590/S0034-759020210407
PEDERSEN, J. (2019). “Fansubbing in Subtitling Land.” Target International Journal of Translation Studies 31 (1): 50–76. https://doi.org/10.1075/TARGET.18017.PED .
PHILLIPS, G. (2003). “Legality of Fansubs”. Anime News Network. June 8. www.animenewsnetwork.com/feature/2003-06-08/3 .
PIRÓTH, A., & Baker, M. (2021). “The Ethics of Volunteerism in Translation: Translators without Borders and the Platform Economy.” In Routledge Handbook of Translation and Globalization, edited by E. Bielsa and D. Kapsaskis, 406–424. London: Routledge.
POPOVIC, S., & McClennen, S. A. (2020). “Laughtivism: The Secret Ingredient.” In Pranksters Vs. Autocrats: Why Dilemma Actions Advance Nonviolent Activism, edited by S. Popovic and S. A. McClennen, 36–45. Ithaca: Cornell University Press. https://doi.org/10.1515/9781501756078-004 .
ROMERO-FRESCO, P. (2021). “Creativity in Media Accessibility: A Political Issue.” Cultus 14: 162–197.
ROMERO-FRESCO, P., & Chaume, F. (2022). “Creativity in Audiovisual Translation and Media Accessibility.” Journal of Specialised Translation 38: 75–101.
SCHOLZ, T. (2013). “Why Does Digital Labor Matter Now?” In Digital Labor. The Internet as Playground and Factory, edited by T. Scholz, 1–9. London: Routledge.
SPINA Alì, G. (2015). “A Bay of Pigs Crisis in Southern Europe? Fan-Dubbing and Parody in the Italian Peninsula.” European Intellectual Property Review 2015 37 (12): 756–764.
TALAVÁN, N. (2019). “Creative Audiovisual Translation Applied to Foreign Language Education.” Journal of Audiovisual Translation 2 (1): 53–74. https://doi.org/10.47476/JAT.V2I1.57 .
TAPSCOTT, D., & Williams, A. D. (2006). Wikinomics: How Mass Collaboration Changes Everything. New York: Portfolio.
VAZQUEZ-CALVO, B. (2022). “A Sociocultural Account of Fan Translation Practices that Center the Peripheries.” In Theory and Practice of Translation as a Vehicle for Knowledge Transfer, edited by C. E. Castro, M. del Mar Ogea Pozo, and F. R. Rodríguez, 225–249. Sevilla: Universidad de Sevilla.
WANG, R. (2022). “Community-Building on Bilibili: The Social Impact of Danmu Comments.” Media and Communication 10 (2): 54–65. https://doi.org/10.17645/mac.v10i2.4996 .
WANG, D., & Zhang, X. (2016). “The Cult of Dubbing and Beyond: Fandubbing in China.” In Non-Professional Interpreting and Translation in the Media, edited by R. Antonini and C. Bucaria, 173–192. Frankfurt am Main: Peter Lang.
WERTHEIMER, A. (1999). Exploitation. Princeton: Princeton University Press.
WRIGHT, E. O. (1997). Class Counts: Comparative Studies in Class Analysis. Cambridge: Cambridge University Press.
WYRWOLL, C. (2014). Social Media: Fundamentals, Models, and Ranking of User-Generated Content. Wiesbaden: Springer.
YOUTUBE. n.d. “How to Earn Money on YouTube.” https://support.google.com/youtube/answer/72857?hl=en-GB .
ZHANG, L.-T., & Vazquez-Calvo, B. (2022). ““¿Triste Estás? I Don’t Know Nan Molla”: Multilingual Pop Song Fandubs by @miree_music.” ITL - International Journal of Applied Linguistics 173 (2): 197–227. https://doi.org/10.1075/ITL.21007.ZHA .
ZWISCHENBERGER, C. (2022). “Online Collaborative Translation: Its Ethical, Social, and Conceptual Conditions and Consequences.” Perspectives 30 (1): 1–18. https://doi.org/10.1080/0907676X.2021.1872662 .
ZWISCHENBERGER, C. (2023). “Online Collaborative Translation: Probing Its Suitability as a Meta-Concept and Its Exploitative Potential Linked to Labour/Work.” In Translaboration in Analogue and Digital Practice, edited by C. Zwischenberger and A. Alfer, 213–241. Berlin: Frank & Timme.
Téléchargements
Publié-e
Comment citer
Numéro
Rubrique
Licence
(c) Tous droits réservés CC BY 2025
Cette œuvre est sous licence Creative Commons Attribution 4.0 International.
Copyright Statement
Given the public access to this journal, the texts are free to use but requires the recognition of the original authorship and initial publication in this journal to be properly stated.
The journal allows the use of works published for non-commercial purposes, including the right to submit the work to publicly accessible databases. Published contributions are the sole and exclusive responsibility of the author(s).
- When submitting papers to be evaluated by the Belas Infiéis journal, the author(s):
- Declare that the contents of the contributions are original and of their original creation, being entirely responsible for their content if there is an objection by third parties.
- Claim to be aware that they should not commit academic plagiarism.
- Declare that the manuscript has not been published, completely or partially, in Portuguese or another language. If it is a translation it should be submitted to the Translated Articles section.
- Declare that the manuscript is not being evaluated by other journals.
- Declare that the manuscript was not submitted to another journal simultaneously.
- Commit(s) to inform the journal of any kind of error or inaccuracy in their contribution (published, in evaluation or in editing) and to collaborate with the editors to make due corrections of the article (when in evaluation or editing) or erratum/retraction (after publication).
- Declare that there is no conflict of interest regarding the published work.
- Authorize its release if it is accepted for publication without any kind of monetary compensation.
- Agree to assign non-exclusive rights to publication to the magazine, remaining free to make their contribution available in other media as long as the publication of the first version in Belas Infiéis magazine is mentioned. They also authorize Belas Infiéis to assign their texts for reproduction in content indexers, virtual libraries and similar platforms.
- Maintain copyright and grant the journal the right of first publication, the work being licensed under theCreative Commons Attribution License.
- Is/Are allowed and encouraged to publish and distribute their work online after the editorial process, which may increase the impact and citation of the published work.
- Authorize the editorial team to make textual adjustments and to adapt the article to the publication rules, when necessary.
